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12.28 Joris Driepinter
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12.25 christmas dinner
12.21 Gingerbread cookies
During my extended (thanks Easyjet…) visit to London, we baked gingerbread cookies.
Circles were made by Jose, Tom & myself
after which the little sister went all out with a portrait of Mr. O Mahoney
12.17 Dan Graham
Apparently participating in Dan Graham’s Present Continuous Pasts(s) as a visitor you also become a performer.
I guess that made this my first performance!
From the Hayward Gallery website:
In Dan Graham’s Present Continuous Pasts(s) the visitor becomes both performer and spectator simultaneously. The installation consists of a room containing a two-way mirror, a video camera and a monitor. The mirror reflects present time, the camera records the mirror’s continuous reflection, and hte monitor plays back the recording after an eight-second delay, thus presenting, in Graham’s words, ‘an infinite regress of time continuums within continuums (always separated by 8-second intervals) within time continuums’.
12.15 andy warhol screentest
For MoMA’s Warhol exhibition I made my own screentest
http://www.moma.org/interactives/exhibitions/2010/warhol/#
12.09 Stedelijk Museum
The Stedelijk Museum has long been undergoing renovations, and last fall it reopened part of its old building to show at least some art.
Half of the galleries are kept empty.
In one of these seemingly empty galleries we came across the following drawing – which had us wonder whether it was ‘supposed’ to be there.
After some discussion amongst the guards, it was taken down ten min later.
Later though we ran across the artwork that inspired the drawing. A Rineke Dijkstra video of a girl drawing a Picasso painting.
I much wished that this drawing had not been taken down, because I liked the copy of the copy of the copy effect.
But well..
—
The Stedelijk has a lot of participatory art at the moment. One of these works is“Measuring the Universe†by Roman Ondak –
“Measuring the Universe is a participatory artwork that evolves over the course of the exhibition, as museum attendants measure each visitor’s height and inscribe it on the gallery walls. Based on the tradition of marking a child’s height on door frames as he or she grows, Measuring the Universe begins with empty white walls; however, as the exhibition progresses, the surface gradually darkens as the attendants record the presence of potentially thousands of museumgoers. The work is an ever-evolving wall drawing that is both a public performance and a collective document.”